How well do we know authors? How well should we?: Elena Ferrante Unmasked

Rather than being acclaimed as masterpiece of sleuthing, there was a decidedly negative reaction to Gatti’s investigation. Most people felt that Ferrante’s multi-decade anonymity had been unnecessarily violated, and crucially without her consent. – David O’Dwyer, Irish Times

I was reading a brief article in the Irish Times this morning on the topic of Elena Ferrante, anonymous author of the “Neapolitan Novels” series, who she is, and if it’s any of our damn business. Italian journalist Claudio Gatti took it upon himself to seek out the author, unmasking her. Though it’s easily Googled, I’m not going to speak her name here – HINT: it’s not Voldemort.

I feel what he did was terribly wrong, stalker-ish behavior disrespectful of the author’s personal decision to conceal her identity. As readers, no matter how much we love an author’s work, they owe us nothing. They produce art for public consumption, and should they choose to share themselves with us that’s a bonus. But we certainly don’t deserve it simply because we wish we knew. Their works are stand-alone, not invitations to the general public to investigate or obtain any ownership of the writer.

She wanted anonymity so her work would speak for her – I fully support that. – Ian Rankin

This set me thinking about the common tendency to speculate an author’s fiction is a reflection of his or her own experience, that no work of fictional prose comes solely from outside. So, we presume we know all about an author from reading his or her work, as well. We deconstruct and presume to know, but believing does not make it so.

Prose fiction is certainly shaped by the sum total of an author’s education and experience – it cannot happen any other way, consciously or unconsciously – but this does not mean we can analyze the author personally based on what s/he produces fictionally. It’s far too complex a matter to separate what’s the writer’s personality and what’s creative inspiration based on experience and inspiration outside the writer’s mind.

I have written a memoir here and there, and that takes its own form of selfishness and courage. However, generally speaking, I have no interest in writing about my own life or intruding in the privacy of those around me. – Peter Carey

It’s tempting, of course, to presume all fiction comes from a deep, dark spot in a writer’s psyche, but just because a thought occurs to a person that doesn’t mean it comes from that person’s own belief system or experience. It’s faulty logic. Ideas come from all sources; there is no original idea. How a theme is expanded upon is necessarily colored by a person’s experience, but we cannot know where reality ends and fiction picks up.

Writers are not public property. They may become celebrated, and may choose to interact with fans, but what they give is a persona, what they want us to see. It’s the same with everyone, creative or not. We show what we choose to, and owe nothing we don’t wish to share.

Secrecy is what is known, but not to everyone. Privacy is what allows us to keep what we know to ourselves. – Jill Lepore

Why should writers be held to a different standard just because readers want to know more? This sense of entitlement is over-reaching. It’s none of our damn business.

To the writer behind the pseudonym Elena Ferrante, you deserved your privacy. I was sorry to hear that was violated. Your fiction was gift enough.

It’s a shame human nature leads to the assumption we should be privy to a thing just because we wish it. It is what it is, but it’s one of many sad statements about the human condition.